Arch Daily |
- Céline Flagship Store / Valerio Olgiati
- Bushey Cemetery / Waugh Thistleton Architects
- Haus B / one fine day
- Nolla Cabin / Studio Mr. Falck
- Garage House in Kawagoe / Horibe Associates
- Tahoe Qingyun Town / Shanghai Tianhua architectural design
- Willow House / Guz Architects
- Busan Forest of Healing Visitor Center / Architects Group RAUM
- Dutch Gable Roof House / Hiroki Tominaga-Atelier
- Parliament of Victoria Members' Annexe / Peter Elliott Architecture + Urban Design
- The Union for Contemporary Art / Alley Poyner Macchietto
- Spotlight: Louis Sullivan
- Palace for Mexican Music / Alejandro Medina Arquitectura + Reyes Ríos + Larraín arquitectos + Muñoz arquitectos + Quesnel arquitectos
- The Best Structures of Burning Man 2018
- GSC / SuperLimão Studio + Gabriela Coelho
- Africa's Tallest Skyscraper by Zaha Hadid Will Finally Rise in Egypt
- Workshop on a Cliff / MU Architecture
- How (Not) to Design a Biennale: Is Freespace Free?
- UDEP Lecture Building / Barclay & Crousse
- Roundup: 5 Skyscrapers Redefining Supertall
| Céline Flagship Store / Valerio Olgiati Posted: 03 Sep 2018 10:00 PM PDT  © Mikael Olsson
 © Mikael Olsson Text description provided by the architects. A marble shell is laid over an existing two-storey structure. The facades, floors, walls, ceilings are entirely made of marble.  © Mikael Olsson The blue-green Pinta Verde from Brazil is exceptional and creates a wonderful atmosphere for Céline.  © Mikael Olsson The exhibition space on the ground floor is a canopy, held by concrete pillars. These columns connect the entire building to the foundation.  Entrance level plan The virtual world exists in parallel with the physical. Above is a space deep inside the marble, where shoes and ready-to-wear are displayed.  © Mikael Olsson More tent than boutique, this is a place where an internal universe can be imagined.  Longitudinal section  This posting includes an audio/video/photo media file: Download Now |
| Bushey Cemetery / Waugh Thistleton Architects Posted: 03 Sep 2018 08:00 PM PDT  © Lewis Kahn
 © Lewis Kahn Text description provided by the architects. Bushey Cemetery is a 16-acre site of outstanding natural beauty situated within the meadows in London's green belt and is one of the most significant Jewish burial sites in the UK. Our extension of the cemetery was designed around the existing landscape. The buildings are very much part of their setting and, in 60 years when it is anticipated that the cemetery is fully occupied, the buildings will be returned to the earth, and the site to the green belt.  Plan Laid out along a north-south axis the buildings facilitate the movement of mourners. A timber colonnade forms the processional route to the prayer halls, which are entered from the west and exited to the east, before mourners are led towards the graveside.  © Lewis Kahn  © Lewis Kahn Two monolithic prayer halls, discretely embedded into a corner of the sloping site, are at the heart of the development. Built of rammed earth, this organic, locally sourced material defines the overall design and was chosen for its symbolic and practical sensitivity to the Jewish faith, echoing the traditional sentiment of the deceased being laid to rest in plain wooden caskets, 'returning to the earth'.  © Lewis Kahn This is an ancient building method that is natural, sustainable, durable and strong. Left exposed within the ceremonial spaces, the rammed earth creates a sombre, peaceful atmosphere. Oak panelling, larch glulam beams, earthen tiles and Corten steel doors complete the natural, tactile material palette. A linear reed bed and series of ponds and swathes define the edges of the cemetery, facilitating rainwater attenuation and encouraging the biodiversity of Bushey Cemetery's pastoral setting.  © Lewis Kahn On site for less than two years, the project has been a 10-year journey taken alongside the organisation's trustees, Jewish community and planners, requiring us to develop an understanding of the processional nature of the Jewish faiths' practice of burial.  © Lewis Kahn  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Sep 2018 07:00 PM PDT  © Roland Borgmann
 © Roland Borgmann Text description provided by the architects. Settlements  © Roland Borgmann  Floor Plans  © Roland Borgmann Geometry  Geometry Details House and garden  Exploded Axonometric Interior  © Roland Borgmann Ecology  © Roland Borgmann  This posting includes an audio/video/photo media file: Download Now |
| Nolla Cabin / Studio Mr. Falck Posted: 03 Sep 2018 06:00 PM PDT  © Fanny Hagman
 © Fanny Hagman Text description provided by the architects. This summer, living with minimal emissions will be put to the test. Neste is building a prototype of a cabin that has a minimal environmental impact in terms of both carbon dioxide emissions and concrete impact on nature. The Nolla (= zero) cabin, designed by Finnish designer Robin Falck, is located just outside Helsinki city center, on the Vallisaari island. The cabin has been built from sustainable materials and is designed for a simple lifestyle with minimal to no emissions, taking into account the surrounding nature in every respect.  © Fanny Hagman Located on the idyllic island of Vallisaari in the Helsinki archipelago, the Nolla cabin encourages people to consider how modern solutions and innovations could enable sustainable cabin living. Vallisaari has been in a natural state for decades and is thus the perfect location for an urban cabin experience, located at a 20-minute boat ride away from the Helsinki market square. The ecological and mobile Nolla cabin will be in Vallisaari until the end of September, demonstrating a lifestyle that generates minimal to no emissions.  © Fanny Hagman Placing the compact and mobile cabin on its private lot does not require a construction permit and it has been designed to use building materials as effectively as possible. The cabin is the size of a small bedroom and can be assembled and transported without heavy machinery, leaving its environment nearly untouched. The Nolla cabin has been designed by Finnish designer Robin Falck, whose earlier design, Nido cabin, has been globally acknowledged.  © Fanny Hagman  This posting includes an audio/video/photo media file: Download Now |
| Garage House in Kawagoe / Horibe Associates Posted: 03 Sep 2018 05:00 PM PDT  © Yohei Sasakura
 © Yohei Sasakura Text description provided by the architects. As a true car and bike enthusiast, the client hopes for the ability to see his favorite car from the comfort of his bedroom. His wife wishes for a space in which she could spend quiet time with her dog. The house aims to grant both requests in a two-story residence. The garage space is established on the first level, to house the client's favorite Maserati Shamal, among other Italian cars and motorcycles.  © Yohei Sasakura  Section and Floor Plans  © Yohei Sasakura The family's residential space is primarily on the second level. In order to secure the tranquility of the second floor, the first floor was planned with durable, reinforced concrete. A courtyard was inserted at the end of the garage, to allow for the release of sound and vehicle exhaust.  © Yohei Sasakura The exterior walls of the courtyard are made of hinoki. The sound-absorbing properties of this wood are employed to reduce reverberations. The foliage of the courtyard not only serves as a buffer for engine noise but also contributes to air purification. Each family member in each of their places ― the courthouse plan generates spaces to share the peace of mind and peace of time.  © Yohei Sasakura  © Yohei Sasakura  This posting includes an audio/video/photo media file: Download Now |
| Tahoe Qingyun Town / Shanghai Tianhua architectural design Posted: 03 Sep 2018 04:00 PM PDT  Building facade. Image © SCHRAN Architectural Photography
 Aerial view. Image © SCHRAN Architectural Photography Text description provided by the architects. Tahoe Qingyun Town is located 30km southeast of Fuzhou. For nearly a thousand years since the Southern Song Dynasty, Fuzhou Yongtai has been famous for its local cultural treasure. The beautiful natural and cultural environment of Yongtai is marked by a combination of trees, creeks, mountains and streams. Based on its natural environment, Tahoe is dedicated to creating a unique resort spot integrating traditional Zen culture of the Song Dynasty.  Symmetrical building entrance and plaza. Image © SCHRAN Architectural Photography Pros to cons  Courtesy of Shanghai Tianhua architectural design Traditions Re-interpreted  Facade of simplicity. Image © SCHRAN Architectural Photography  Diagram of truss structure  Roof inspired by the swallow's ridge. Image © SCHRAN Architectural Photography Hiding Clumsiness  Highly transparent interior space. Image © SCHRAN Architectural Photography  Section High Transparency  Fish-bellied truss supporting structure. Image © SCHRAN Architectural Photography Water Involvement  Night view of building and water. Image © SCHRAN Architectural Photography Walking along the water, the visitors encounter the Zen Commercial Street. The architects added semi-outdoor spaces such as pavilions, trusses and corridors in the outdoor space, blurring the boundaries between indoor and outdoor spaces, integrating the environment into the building. It serves as a dynamic part of the courtyard, and provides a quiet place to rest. The roof of the building is inspired by the swallow's ridge of traditional Fujian architecture. It reflects the subtle style of southern Fujian and demonstrates charming regional characteristics. The heritage of traditional architecture was interpreted in a new way.  Zen commercial street along the water. Image © SCHRAN Architectural Photography Shifting Sceneries  Water involvement. Image © SCHRAN Architectural Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Sep 2018 03:00 PM PDT  © Patrick Bingham-Hall
 © Patrick Bingham-Hall Text description provided by the architects. The Coral House was located on a square flat site in a quiet residential neighbourhood in Singapore. Designed for a young couple with three small children, the house aimed to create dynamic spaces that encourage play and interaction. The house embraces Singapore's tropical climate by creating open, well ventilated spaces in an interlocking composition of building, garden, pool, pond and roof gardens that integrates as much as nature as possible in the in the densely urban environment of Singapore.  © Patrick Bingham-Hall The building plan opens up around a central water courtyard and has been oriented to capture the most of the prevailing breezes. The two-storey building is set out as an L-shape and is counter balanced by a single storey open verandah with an accessible roof garden on the opposite end. Main living and dining areas are located on the ground floor with service areas hidden behind the main staircase. The bedrooms and study room are on the first floor; the master bedroom and children's bedroom are located at opposite end of the building's L-shape, separated by the main staircase.  © Patrick Bingham-Hall Water and garden make up the main component of the central courtyard. From the main entrance, the focal point is a water garden comprising a large fish pond with a tree-filled island. The movement of water and fish brings life into the courtyard and draw the eye away from the building. Further down the living and kitchen area the fish pond transforms into a shallow freshwater reflective pond which then merge into a 3m deep swimming pool. The swimming pool wraps around the verandah and is encased within a long raised strip of clear acrylic panel. The acrylic panel extends into the basement level and becomes a window to the subterranean media room, bringing nature light and movement to what would otherwise be a still and dark space.  Section A Circulation is unrestricted around the courtyard, the main stair links from the courtyard on the ground floor to an open corridor which runs along the first floor joining the bedrooms and the roof gardens. Each bedroom looks onto the main courtyard and extends out onto a roof garden. The roof gardens allow a direct relationship with the garden, break down the 2-storey massing of the house and create an illusion of a single storey building. From the street the bedrooms are seen peeping above the edge of the roof garden which is softened by an abundance of overhanging vegetation and colour.  © Patrick Bingham-Hall The house makes extensive use of passive environmental principle to minimize the need for mechanical cooling. Cross ventilation is maximized by the careful placement of the building on site, large roof overhang has been designed to shade the glazed area from the strong sun. The integration of extensive landscaping on all floors helps to reduce carbon dioxide and contribute to water retention, reducing the pressure of the surface water system at heavy rain times.  © Patrick Bingham-Hall  This posting includes an audio/video/photo media file: Download Now |
| Busan Forest of Healing Visitor Center / Architects Group RAUM Posted: 03 Sep 2018 02:00 PM PDT  © Yoon Joonhwan
 © Yoon Joonhwan Text description provided by the architects. Spatial processing for the experience of sensuous forest  © Yoon Joonhwan Architecture is weak in front of nature. Therefore, I tried to build the architecture to gently live with that weakness and be with nature. I wanted to prevent the architectural space from overpowering the hills, covering the trees, and being hidden in the forest. The inner space of the building also reveals the fact that nature is the best space and construction. In order to do this, the image of the wood in the forest recreated an artificial element in the architectural space for the continuation of the forest. Therefore, I created a visual image of the forest in the haze by combining the forest and light. I also visualized the thought that nature can penetrate the architectural space.  © Yoon Joonhwan  Floor plan A  © Yoon Joonhwan The exterior woods mimic feelings in the forests of nature, and vertical wood louvers emphasize the vertical feeling of the forests. The louvres overlap with the pine trees in the forest, creating a variety of depths and emphasizing continuity.  © Yoon Joonhwan The corridor is an interface between the forest and the architectural space, and it becomes a circulation. You can feel the relationship between the nature and artificial space by walking through this corridor. When you come in after experiencing the corridor, even the inner space establishes a relationship with the outside forest. This relationship is formed between the trees stretched from the outside and the interior wooden louver and its spacing. Especially when gazing out from the inside, the outside pine forest and the inner louvers or pillars are superimposed on each other to create various depth and senses of space. This scene makes it possible to visually experience the various spaces created in the forest. Additionally, the use of wood, which stimulates the olfactory, stimulates our senses and plays its role in making us feel the wood presence on a greater level.  © Yoon Joonhwan  This posting includes an audio/video/photo media file: Download Now |
| Dutch Gable Roof House / Hiroki Tominaga-Atelier Posted: 03 Sep 2018 01:00 PM PDT  © Takumi Ota
 © Takumi Ota Text description provided by the architects. This house is rebuilt of old sub house, standing beside main house, wrapped big Japanese garden in Tokyo downtown area. To rebuild it, as we needed to demolish the old house and Oya stone fence, we kept many materials, which can be used, once. Then we sliced old wooden columns and beams to use as ceiling finish. We also use Japanese "shoji" window as ceiling finish and Oya stone as gardening floor finish and fence again.  © Takumi Ota This house has simple dutch gable roof, which is Japanese traditional. Big triangle window is put in south high side to have sunlight between trees, so we can feel garden if we close all the curtains.  Plan Clients are old couple but high ceiling space is planned to expand as grandson's room. Then parents and 2 kids can live in this house in the future.  © Takumi Ota As the floor level, which is adjust to old main house, is quite high from the ground level, we make big eaves and hang the terrace from eaves, it looks like big bay window and garden stone is slide under this terrace to bring the garden closer to the house.  Section Oya stone, which was fence originally, is laid as a garden finish and big eaves works as a pergola from the garden for the grandsons living in main house.  © Takumi Ota  This posting includes an audio/video/photo media file: Download Now |
| Parliament of Victoria Members' Annexe / Peter Elliott Architecture + Urban Design Posted: 03 Sep 2018 12:00 PM PDT  © John Gollings Photography
 © John Gollings Photography Text description provided by the architects. The new annexe building provides much-needed office accommodation for 102 members of parliament and their support staff. After a century and a half of makeshift and inadequate member's offices and numerous failed schemes to extend Parliament House, the new building finally solves a long standing accommodation problem. The annexe has been constructed as a separate free-standing building within the eastern gardens of the Parliamentary precinct but is linked back into Parliament House via a bridge, tunnel and laneway connections.  © John Gollings Photography Parliament House is one of Victoria's most important historic buildings having been built in stages over several decades from the mid nineteenth century. The architect Peter Kerr's 1856 grand master plan remains incomplete with the Spring Street façade the only elevation that is true to the original vision. An imposing dome and further symmetrical wings were never completed, giving the sides and back of the building a decidedly unfinished appearance.  © John Gollings Photography The new annexe has been conceived as a companion building set in a garden where one hundred percent of the footprint has been replaced with landscape on the roof and within a large central courtyard. The building has been partly sunken into the ground to protect views and integrate it topographically within the eastern garden. Key views from Parliament House looking out into the garden and toward St Patrick's Cathedral and St Peters Church have been maintained, as have views from the garden to the east façade of Parliament House.  © Dianna Snape  Ground Floor Plan  © John Gollings Photography The office annexe has been planned as a perimeter courtyard scheme of four unequal wings. From the outer garden the building is a partly buried single storey, whereas within the inner sunken courtyard it is a uniform two storeys. The west wing to the courtyard has been aligned with Parliament House as a formal device commensurate with its setting. The size and location of the building has been massaged and shaped to retain key heritage elements, like the Federation Oak, significant established trees and the bowling green. The roof garden has a three-sided pincer shape opening out to the east on axis with St Patrick's Cathedral. This allows the inner courtyard to integrate with the existing eastern garden as one large flowing space. The architectural language of the building adopts two distinct approaches, a sloping rampart type bluestone clad outer wall and a gridded concrete framed façade to the inner courtyard. The building has excellent environmental credentials, having a large thermal mass due to the roof garden and a geo-thermal mechanical system among other initiatives.  © John Gollings Photography The internal planning of the building is based around clusters of standardized offices organized within each of the four wings. Offices are arranged in small groups or neighborhoods separated by informal breakout lounges so that no corridor is more than several offices long. Open stairs have been located in all four corners of the plan to maximize convenience and the connection between spaces. Corridors are typically open-ended to bring in daylight and views of the garden.  © John Gollings Photography  This posting includes an audio/video/photo media file: Download Now |
| The Union for Contemporary Art / Alley Poyner Macchietto Posted: 03 Sep 2018 10:00 AM PDT  © Dana Damewood
 © Dana Damewood  © Dana Damewood Text description provided by the architects. Three derelict masonry buildings located within an Historic District of North Omaha come together to house The Union for Contemporary Art offices, resident studio spaces, workshops, a public garden and galleries.  © Dana Damewood  Section  © Dana Damewood The truss systems spanning the former warehouse buildings were restored and painted white to float over the walls, allowing the ceiling plane to seamlessly unite the open spaces within. Steel walkways intersect the existing storefronts and former commercial bays while preserving the existing floor openings to allow natural light to flood the basement studio spaces, children's area and galleries.  © Dana Damewood  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Sep 2018 09:00 AM PDT  © <a href='https://www.flickr.com/photos/chicagoarchitecturetoday/8400309871/'>Flickr user chicagoarchitecturetoday</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>. Image © Flickr user chicagoarchitecturetoday licensed under CC BY 2.0 Known as Chicago's "Father of Skyscrapers," Louis Sullivan (September 3, 1856 – April 14, 1924) foreshadowed modernism with his famous phrase "form follows function." Sullivan was an architectural prodigy even as a young man, graduating high school and beginning his studies at MIT when he was just 16. After just a year of study he dropped out of MIT, and by the time he was just 24 he had joined forces with Dankmar Adler as a full partner of Adler and Sullivan.  Louis Sullivan circa 1895. Image in public domain  The Guaranty Building in Buffalo, New York. Image © Jack E. Boucher (public domain) Sullivan is arguably best known for his influence on the modernists that followed him, including his protegé Frank Lloyd Wright. Though he is known for his beautiful use of ornament, his true innovation came in the way he adapted previous ornamental styles to the newly-emerging tall buildings of the late 19th century, using it to emphasize a building's verticality. It is this principle that led to his famous tenet of "form follows function," although Sullivan himself always credited the inspiration for this phrase to a much older source: Vitruvius.  The Wainwright Building in St Louis, Missouri. Image © <a href='https://commons.wikimedia.org/wiki/File:2010-07-04_1880x2820_stlouis_wainwright_building.jpg'>J. Crocker</a>  The Wainwright Building in St Louis, Missouri. Image © University of Missouri For these innovations in building tall, Sullivan is often credited as being a part of the first "Chicago School" of architecture, which employed steel framed buildings clad in ornamental masonry. Among the buildings for which Sullivan is known are the Wainwright Building in St Louis, Missouri, the Guaranty Building in Buffalo, New York and the Carson Pirie Scott Building in Chicago.  Merchants' National Bank in Grinnell, Iowa. Image © <a href='https://commons.wikimedia.org/wiki/File:Louis_Sullivan_Jewel_Box,_Grinnell,_Iowa.jpg'>Wikimedia user Manop</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>
9 Incredibly Famous Architects Who Didn't Possess an Architecture Degree  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Sep 2018 08:00 AM PDT .jpg?1535990945 "© Onnis Luque") © Onnis Luque
.jpg?1535990838 "© Onnis Luque") © Onnis Luque .jpg?1535992470 "© Cielito Drone") © Cielito Drone Text description provided by the architects. The architectural design for the palace for Mexican music can be defined as a modern building sensible to its physical context of great historical value. Due not only because its location within the city but mainly because the nature of its program is public, it was conceived with the potential to revitalize and regenerate the part of the historical downtown where it is located. .jpg?1535990367 "© Onnis Luque") © Onnis Luque The building is set to become a benchmark for state-funded public architectural projects. Its design is conceptualized as a catalyst for public space while recognizing the surrounding architectural heritage context. To achieve this, the building serves as a patio, a hinge and a terrace, which not only draws pedestrians to cross through the public space of the building, articulating the formerly known ‘Congress Alleyway’ with the Hidalgo Plaza, as well as focusing the adjacent stone wall and the dome of the Third Order Temple built in 17th Century. Finally, the rooftop works as a green terrace that reveals the magnificence and scale of the surrounding heritage buildings such as the Cathedral and the Third Order Temple. .jpg?1535992482 "© Cielito Drone") © Cielito Drone
.jpg?1535990815 "© Onnis Luque") © Onnis Luque The building is comprised of 4 stories (1 underground and 3 above) divided accordingly for the three principal intended uses. The underground level has the interactive museum for Mexican Music, with 1200 sqm of exhibition space divided among six rooms, each with a particular theme, narrating the development and evolution of Mexican folk music from its origins to present day, highlighting its main genres. Complementing the museum, this level includes a shop, storage areas and utility rooms. At street level, the building is mostly an open plan layout where pedestrians can walk through. .jpg?1535990634 "© Onnis Luque") © Onnis Luque  Outline patio opening .jpg?1535990955 "© Onnis Luque") © Onnis Luque Additionally, this level features the entrance to the museum, the Concert Hall and the archive for the largest collection of recordings from the National Record and Music Library (Fonoteca Nacional) outside Mexico City, to which users will also have access digitally. The library has 650 sqm for storage and physical archive of original radio and video recordings collected throughout the years. Aside from the entrance, on street level also has a central courtyard named “Patio of Strings” intended as a music performance space, open to the public and to the street, with the capacity of 400 people. This courtyard allows separate performance venues to operate simultaneously with the main Concert Hall, allowing maximum performance space, indoors and outdoors. The main Concert Hall has the occupation capacity of 450 seats and features high-performance acoustic adjustable paneling to suit different styles of music. It also has all the facilities for people with disabilities, including the backstage and a professional recording studio. .jpg?1535990455 "© Onnis Luque") © Onnis Luque Lastly, the rooftop is designed as a terrace with gardens to overlook all around sights like the Cathedral, the Third Order Temple, therefore creating a new memory of the heritage sites surrounding the project, from an urban perspective and from the fifth façade in a building standing in Downtown Merida. .jpg?1535990399 "© Onnis Luque") © Onnis Luque The spatial quality of indoors and outdoors like the composition and the architectural and urban relationship are essential premises for the design of the Palace for Mexican Music. .jpg?1535992398 "© Pim Schalkwijk") © Pim Schalkwijk Tending to these topics the project seeks to establish a new precedent for a public building to contribute to the revitalization of its surrounding urban space, facilitating the free circulation of pedestrians and improving city connectivity, therefore improving the sense of place of the people for the heart of the city and with the Music Palace of Mexican Music. .jpg?1535990607 "© Onnis Luque") © Onnis Luque  This posting includes an audio/video/photo media file: Download Now |
| The Best Structures of Burning Man 2018 Posted: 03 Sep 2018 07:00 AM PDT  Courtesy of Bjarke Ingels As Burning Man 2018 comes to a close, snapshots and glimpses of the event have begun to emerge in the mediasphere. The most recognizable among these is, perhaps, BIG's Orb, a hovering sphere representing a scaled version of the earth itself. For many a highlight of the event is the installations, this year following the theme "I, Robot." Referencing Isaac Asmiov's short story of the same name, installations include the Orb, Baba Yaga's House, the Cosmic Voyager, and the Temple Galaxia. Check out some of our favorite snapshots from the event below.  This posting includes an audio/video/photo media file: Download Now |
| GSC / SuperLimão Studio + Gabriela Coelho Posted: 03 Sep 2018 06:00 AM PDT  © Maíra Acayaba
 © Maíra Acayaba  © Maíra Acayaba Text description provided by the architects. This project consists of a large gallery that displays items from the collector's car and art collections throughout their space. We created forms and pieces allowing the users to configure the displays to show these objects from the collection in a variety of ways. The program requires a garage for the cars, an exposition gallery to display various items from the collections, an office, a smaller workshop, a gym and a kennel. Developed by SuperLimão in partnership with the architect Gabriela Coelho, this project was conceptualized around the use of shipping containers and metallic structures.  © Maíra Acayaba  © Maíra Acayaba One characteristic that differentiates our project from the usual container projects that we are used to seeing is that this particular project is totally adapted to our climate while utilizing the maximum passive techniques of form to maximize energy efficiency and take advantage of reusable materials from the container itself. All of the spaces have windows on three different levels. They not only allow for ventilation, but they also perform at an optimal level on days without wind. The exterior walls are finished in a ceramic paint and work in conjunction with the roof covered in foliage, to thermally regulate the internal environment thus reducing the use of air-conditioning equipment.  © Maíra Acayaba The air conditioning equipment exists but is only used during the hottest parts of summer. All areas posses natural light through the windows or skylights. The placement of the structure in the site, alongside the concept, aimed to connect users in fields of vision at various levels. The building is comprised of three principal floors: street level, terrace, and the roof garden. The design of the terrace consists of ten containers intertwined and connected to form the central axis. The garden located on the roof was placed as such in order that when looking in an aerial view, the lot would seem like a square garden, displaying the uniqueness and beauty of the space.
Not noticed in plan view, however, is that the containers are placed on different levels, and the windows within the space allow users to have sightlines between the different areas. The floors become the ceiling, and vice-versa, creating a unique experience that would be worthy of an Escher drawing. The principal connection between the containers creates a large, central circulation axis that is treated as the gallery space. The internal walls were developed using a metal grid that can hold panels of wood or metal sheet walls to create a flexible space where the collections can be displayed in a diverse array of possibilities.  © Maíra Acayaba The stainless steel walls and floors from the containers original structure have been restored and left visible in the space. The studio space was covered with a layer of OSB board to make a sturdy support for attaching tools and machinery. The office was formed using four containers that are directly above the garage space, making it possible to add a car lift in the center of the garage, allowing the collection to be displayed, and seen, by everyone in the office. The display can be changed each day or as frequently as the users wish.  © Maíra Acayaba The garage is a large space that is structurally supported by two pillars, which optimizes the exposition of the cars. In the center is the car lift where they can change the cars day by day or as frequently as they wish, and also creating an easy outlet to service the cars when necessary. The concrete curtains were left visible, as they are part of the reinforcement and infrastructure for the facilities. A perforated screen and a sliding door enclose the entrance foyer, where plants cover the screen creating an element of privacy, giving the users an option to leave the door open. This area also creates an excellent light source as well as a good ventilation point for the structure.  Exploded Axonometry The exterior floor is completely permeable and was executed through the use of a monolithic drainage material that does not require the use of expansion joints. The house is able to reuse rainwater, as it is collected in this system and stored in a large cistern placed in a vertical position. Landscaping was considered with biomass in mind, the lower levels are dense with tropical vegetation that requires direct access to the sun. This type of vegetation is arider and suitable to the microclimate of Sao Paulo. The lighting designer created a structure that would illuminate the collections, but also allow for flexibility in the space as the collection display shifts and changes.  © Maíra Acayaba  This posting includes an audio/video/photo media file: Download Now |
| Africa's Tallest Skyscraper by Zaha Hadid Will Finally Rise in Egypt Posted: 03 Sep 2018 05:00 AM PDT  Nile Tower. Image Courtesy of Zaha Hadid Architects After more than a decade, Egypt has returned to its plan to construct Africa's tallest building. Sited on the Nile River in central Cairo, the skyscraper was designed by the late Zaha Hadid in 2007. President Abdel Fattah el-Sisi and the government are working with the project developers, Living in Interiors, to create the twisting "Nile Tower" with a design that will rise 70 stories. Overlooking views of Cairo, the Nile and the pyramids, the project hopes to symbolize Egypt's growth and the development of the country.  Nile Tower. Image Courtesy of Zaha Hadid Architects  Nile Tower. Image Courtesy of Zaha Hadid Architects Located between downtown Cairo and the Nile, the new tower was supported by former Egyptian president Hosni Mubarak, but the project was put on hold during the wake of political unrest in 2011. The tower faced further issues with economic reforms as the country's currency weakened and importing building materials became more expensive. Now, developers hope to drive growth across the country with close to $250 billion dollars worth of construction projects currently underway.  Nile Tower. Image Courtesy of Zaha Hadid Architects Set with a construction budget of $600 million, the Nile Tower hopes to break ground as President Sisi and the government work with Living In Interiors to ensure the building rises in Cairo. The design will feature 36 floors of luxury apartments, a casino, spa, night club, shopping area and a 230 key hotel. The surrounding area has begun to see a surge of development projects as the heart of Cairo sees an increase in investment.  This posting includes an audio/video/photo media file: Download Now |
| Workshop on a Cliff / MU Architecture Posted: 03 Sep 2018 04:00 AM PDT  © Ulysse Lemerise Bouchard
 © Ulysse Lemerise Bouchard Text description provided by the architects. Located in the Laurentians' mountainous countryside, in the province of Quebec, this modern addition is not the typical garage. Over the peaceful Lake Deauville, this minimalist wood volume stands out from the surrounding green mountains.  © Ulysse Lemerise Bouchard A Contemporary Garage that Turns Into a Suspended Artist Studio  Floor Plan The Workshop Hovers Above a Forest of Inclined Columns  © Ulysse Lemerise Bouchard Northern Light  © Ulysse Lemerise Bouchard Dizzying Height Game  © Ulysse Lemerise Bouchard Sophisticated Simplicity  © Ulysse Lemerise Bouchard  This posting includes an audio/video/photo media file: Download Now |
| How (Not) to Design a Biennale: Is Freespace Free? Posted: 03 Sep 2018 02:30 AM PDT  © Italo Rondinella This article was originally published by Metropolis Magazine under the title "Taking a Second Look at This Year's Nebulous Venice Architecture Biennale." One of the few incontrovertible truths to emerge from the 16th International Architecture Exhibition, which opened in Venice on May 26 and runs through November 25, is that sensitivity and skill in making architecture do not necessarily transfer to the work of organizing an architecture exhibition.
The Biennale's curators, Dublin-based Grafton Architects, helmed by Yvonne Farrell and Shelly McNamara, lay claim to a formidable portfolio of built work that skews toward public buildings of international significance. The duo's largest curatorial endeavor to date, the show suffers from an eagerness to acknowledge their own influences. Grafton structures the exhibition around the nebulous concept of "Freespace," an idea so vague that it ultimately contains a multitude of only tangentially related architects, projects, and ephemeral display objects. In the past two decades or so, architectural curation has morphed from a relatively small, if pointedly influential, subdiscipline into a component part of what it entails to practice architecture beyond the studio. For those trained architects who cannot or choose not to pursue design practice, notions of research and curating have become the go-to alternative. Farrell and McNamara are no such architects: They are committed practitioners who have excelled at producing buildings rather than discourse. Their lauded structures for the UTEC University Campus in Lima, Peru, and the Università Luigi Bocconi in Milan evince a context-sensitive, communitarian ethos. Somewhat surprisingly, then, Grafton resorted to naive platitudes in articulating the "Freespace Manifesto," which it published a year ahead of the Biennale opening: "Freespace describes a generosity of spirit and a sense of humanity at the core of architecture's agenda," and "Architecture is the play of light, sun, shade, moon, air, wind, gravity in ways that reveal the mysteries of the world." An aphorism about "nature's free gifts" to architects comes across as oblivious to architecture's status as a luxury commodity.  Angela Deuber's drawings in the Arsenale at the Venice Biennale. . Image © Italo Rondinella Architecture was brought into the Biennale's fold with the explicit goal of democratizing an elitist institution, as Léa-Catherine Szacka assiduously documents in her book Exhibiting the Postmodern: The 1980 Venice Architecture Biennale. Exhibition officials decided to establish a biennial architecture showcase in Venice, in part as a response to protests against the exclusivity of the older, storied art iteration of the Biennale. Architecture, understood by the Biennale's management as the most civic and public-facing of the creative disciplines, was entrusted with activating the historic city of Venice and with making the Biennale an altogether more accessible, transparent institution. To this end, Paolo Portoghesi, artistic director of the inaugural architecture exhibition, pushed to recover the disused Venetian Arsenale as a site for exhibiting architectural ephemera and thereby also its full-scale 12th-century environs. At least in rhetoric, Grafton's edition shares many of these initial ambitions. But Freespace also makes palpable the Architecture Biennale's retreat into professional jargon as well as disciplinary modes of display and visual communication that hardly register beyond design-centric audiences. A recurring problem, especially in Grafton's exhibition, where it was left completely unmediated, is the space of the Arsenale's Corderie. The former shipbuilding complex's rope-making center, a 1,040- foot-long corridor, has proved an inadequate exhibition space in at least the past two iterations of the international exhibition. The space is cripplingly linear, especially in 2018, when architecture is seeking to establish alternative trajectories of its own development. Installed as an uninterrupted gangplank, the Arsenale display swallowed most of its contents into a poorly considered morass of incessant stuff. Some exceptional installations commanded attention—among them Angela Deuber's drawings for a concrete school building in Thal, Switzerland, and material samples and models for the Avasara Academy by Mumbai-based Case Design—but the sheer expanse of the straight-through space, organized as a procession of individual projects rather than as thematic clusters of displays, drew attention away from the actual content of the exhibition, and instead to the physical slog of crossing the Corderie. .jpg?1535983962 "Lebanon Pavilion at the 2018 Venice Biennale. Image") Lebanon Pavilion at the 2018 Venice Biennale. Image In laying bare and celebrating the expanse of this territory, Grafton also exposed a persistent shortcoming of the Architecture Biennale in recent years: It's too big. One can only hope that downsizing the event would give curators an actionable incentive to display the most exceptional work rather than all of it. For all their talk of "generosity," the curators' inability or unwillingness to pare down the plethora of content on view in the Corderie made it an inhospitable site at best. Grafton's impulses as experienced architects on the one hand and curators on the other are more compatible in the Centrale, where the assembled array of projects—many of them compelling— was complemented by Farrell and McNamara's decision to elevate the historic environs to the status of display object. One particularly effective move was their uncovering of a once-plastered- over window designed by Carlo Scarpa. Rediscovered by the curators while they were reviewing drawings for the Centrale, the restored oculus establishes a visual connection between the Biennale and its siting among Venetian waterworks. Indeed, the curators' aptitude for commingling the work of historical and contemporary practitioners distinguishes the Centrale as the more palatable— at times even illuminating—of the exhibition's dedicated spaces. Especially effective are the quasi-monographic galleries devoted to notable, if sometimes overlooked, 20th-century architects, organized by guest curators. Three chapels by Swedish proto-Modernist Sigurd Lewerentz, for example, are celebrated for their synthesis of scales and spaces for public gathering and private reflection by a team from ArkDes in Stockholm in Freestanding. In another instance, Cino Zucchi considers the Milanese postwar practitioner Luigi Caccia Dominioni in Everyday Wonders, an admirably personal display buoyed by their friendship. And several galleries over, Robert McCarter extends the retrospective trajectory by presenting four unrealized building projects for Venice by Wright, Corbusier, Kahn, and Noguchi. This architectural history constitutes a welcome pivot from Alejandro Aravena's 2016 iteration of the Architecture Biennale, though one cannot help but note an abiding reliance on the work of European and American architects who are, to varying degrees, already known quantities.  © Jan Bitter It would appear in the Centrale that Farrell and McNamara chose to praise practitioners whom they have long admired, rendering their curatorship an exercise in subjective taste-making rather than a research-driven endeavor to articulate a question or position that concerns the architectural profession writ large. The contemporary projects highlighted here reflect the broad concerns addressed in the historical displays—placemaking, materiality, improvisation—and in Grafton's own oeuvre. A display of models, produced by Peter Zumthor's atelier, introduces a kind of fragility to Freespace. Made of wax and other impermanent materials, Zumthor's maquettes question the firmitas so often associated with architecture; they evoke the ethos of the depicted site, eschewing veristic representation to achieve an atmospheric effect instead. In a nearby gallery, Caruso St John Architects present illustrations of building facades accompanied by documentary photos. The highly aestheticized, flattened appearance of the facades makes for beautiful objects, but seems to have very little in common with the preceding display; at any rate, no organizing logic or explanatory text is readily available to account for this particular adjacency. The curators obviously admire all the chosen architects, but this should hardly be enough to merit their inclusion here. All told, there doesn't seem to be a correlation between an architect's stellar work, her admirable taste, and her ability to curate a thematic exhibition on such a scale. In the years to come, Venice will have to compete with newer, more geographically dispersed architecture exhibitions—the Tbilisi Architecture Biennial launches in October and the Sharjah Architecture Triennial in 2019, when the Chicago Architecture Biennial will also open its third edition—for relevance and authority. These smaller, nimbler biennials and triennials stand to expose something more lucid about the contemporary state of the architectural profession and, significantly, to engage in the kinds of polemics that are, amid the sheer surfeit of projects in Freespace, pointedly lacking in Venice.  © Federico Cairoli  This posting includes an audio/video/photo media file: Download Now |
| UDEP Lecture Building / Barclay & Crousse Posted: 03 Sep 2018 02:00 AM PDT  © Cristobal Palma / Estudio Palma
 © Cristobal Palma / Estudio Palma Text description provided by the architects. The UDEP campus is a huge land located nowadays within the urban grid of the city of Piura, nearly a thousand Kilometers North from Lima. It keeps a very interesting sample of Equatorial Dry Forest, mainly constituted by carob trees over sand soil. Recently, the University responded to a public grant for admitting low-income rural students and a new pavilion was urgently needed for accommodating an increasing student population.  © Cristobal Palma / Estudio Palma  Lower Plan  © Cristobal Palma / Estudio Palma Our project had as a main goal to create a learning atmosphere more than an architectonic type or shape. We considered the building should be capable of nestling informal learning: casual encounters for exchanging ideas between students and between students and teachers, in a friendly environment.  Drawing Diagram For achieving that, creating a comfort zone in the permanently sunny, hot and dry climate of the Peruvian northern desert was key to the project. The open-air spaces within the geometric, 70 x 70m limits of the building, nurture the academic life the same way the dry forest allow living in this place: by creating a shade and allowing breeze to cross over.  © Cristobal Palma / Estudio Palma  Axonometric  © Cristobal Palma / Estudio Palma From the exterior, the building appears as monolithic, while once “inside” one discovers a group of 11 independent buildings, 2 and 3 levels height, under generous cantilevered roofs that emerge from each one, providing shadow over multiple gathering and circulation places. Theses roofs leave gaps between them, ensuring adequate natural ventilation and lightning underneath. Sunlight act as a sunclock as it moves over the day in floors and walls.  © Cristobal Palma / Estudio Palma The 11 buildings are arranged around a rational, square shaped circulation and at the same time the spaces created between them are interstitial and labyrinthine, causing a series of unattended possibilities for gathering, resting and strolling. Multiple access to the building are created to stimulate crossing along the building when walking from one place of the campus to the other.  © Cristobal Palma / Estudio Palma  This posting includes an audio/video/photo media file: Download Now |
| Roundup: 5 Skyscrapers Redefining Supertall Posted: 03 Sep 2018 01:00 AM PDT  Green Spine by UNStudio Two years ago over 100 supertall buildings had been constructed worldwide. Last year, 15 more supertall skyscrapers were built, each towering over 300 meters tall. These narrow towers are prevalent in high-density areas with limited land availability and demand for luxury residences. The Council on Tall Buildings and Urban Habitat is the authority on official heights of tall buildings and determines which building receives the title of the Tallest Building in the World. To celebrate International Skyscraper Day, we're exploring a round up of skyscrapers that aim to redefine supertall construction.  Green Spine by UNStudio Green Spine by UNStudio and Cox Architecture UNStudio and Cox Architecture have officially been announced as the winners of Melbourne's landmark Southbank Precinct overhaul. Selected from a range of high-profile offices, including BIG, OMA, and MAD, UNStudio's vision for the $2 billion project includes a pair of twisted towers called Green Spine that would become Australia's tallest building. As the largest single-phase project in the history of Victoria, Australia, the Green Spine is designed as a state-of-the-art, mixed-use environment centered around innovation in architecture and design.  The Lakhta Center by RMJM Lakhta Center by RMJM The Lakhta Center, a 400,000-square-meter complex which includes Europe's tallest skyscraper, is approaching completion in St Petersburg. The centerpiece of the development, the 462-meter-tall Lakhta Center Tower, is not only the tallest building in Europe, but also the first supertall skyscraper in St Petersburg, the world's second-tallest twisting skyscraper after the Shanghai Tower, and the world's northernmost skyscraper.  Moscow Supertall by Sergey Skuratov Architects Moscow Supertall by Sergey Skuratov Architects Moscow officials have approved a new supertall building that will become the city's tallest skyscraper. Rising 404 meters (1,325 feet) in height as part of the Moscow City commercial district, the tower is designed by Sergey Skuratov Architects. The unnamed structure will be a multifunctional residential complex with 109 floors. The new skyscraper will break Moscow's current tall building record set by Federation Tower at 373-meter-tall (1,226 feet) tall. Construction is scheduled to begin next year.  W350 Project by Sumitomo Forestry Co. and Nikken Sekkei W350 Project by Sumitomo Forestry Co. and Nikken Sekkei Timber tower construction is the current obsession of architects, with new projects claiming to be the world's next tallest popping up all over the globe. But this latest proposal from Japanese company Sumitomo Forestry Co. and architects Nikken Sekkei would blow everything else out of the water, as they have announced plans for the world's first supertall wood structured skyscraper in Tokyo. At 1,148 feet tall, the proposal outpaces similar timber-structured highrise proposals including Perkins + Will's River Beech Tower and PLP Architecture's Oakwood Tower.  Nile Tower by Zaha Hadid Nile Tower by Zaha Hadid Architects After more than a decade, Egypt has returned to its plan to construct Africa's tallest building. Sited on the Nile River in central Cairo, the skyscraper was designed by the late Zaha Hadid in 2007. President Abdel Fattah el-Sisi and the government are working with the project developers, Living in Interiors, to create the twisting "Nile Tower" with a design that will rise 70 stories. Overlooking views of Cairo, the Nile and the pyramids, the project hopes to symbolize Egypt's growth and the development of the country.  This posting includes an audio/video/photo media file: Download Now |
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